Vinyl collector&Digital release 11/09/2020
For me, playing Bach’s suites is always at one point or another like seeing the image of Giacometti’s hands tirelessly shaping the clay until a face appears. Seeing your hands in contact with a material. It means feeling that the path to the appearance of features is an inherent part of the face. Grappling with Bach’s suites is very close to that. It’s a question of digging into the string until the phrase is born, and breathing just right. A sentence in perpetual evolution. A never-ending process of making and remaking. I waited a long time to record them. And then one day, or rather one night, I started. It was at Noirlac Abbey, in the monks’ refectory. When night gradually covered the white stones, we arrived. And when all was silent, we began. These are the first two suites. Then come the others. And then there was the meeting with Sarah Moon. When I first wanted to record Bach’s suites, I dreamt of his images. Because when I look at them, I imagine the creation of the world, the separation of the waters, the appearance of the earth, before history began.
